Seen
Not described yet.
Of
These are claims by the holder and by Wikidata, read 2026-09-04, and join nothing until an editor confirms them.
- Iconclass
- 31D15:61BB
- Wikidata depicts
- Isabella Brant
Means
No reading yet.
Rights
- Credit
- Mr. and Mrs. William H. Marlatt Fund
- Licence
- CC0-1.0
- Evidence
- openaccess-api.clevelandart.org: share_license_status=CC0 on artwork 125247 (read 2026-09-01)
- Record
- https://clevelandart.org/art/1947.207
Also by Peter Paul Rubens (Flemish, 1577–1640)
5
Within fifty years of c. 1620–25
914
Also at Cleveland Museum of Art
576
Similar picturesFound by visual likeness
8 picturesVisual resemblances suggested by the model. A match does not establish a shared subject or historical connection.
In the stacks
Not yet checked3Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.
The baroque antithesis to Raphael and Diirer is here represented by Rubens’ Christ Bearing the Cross* (engraving by Pontius with a variant anterior to the picture in Brussels). The recessional movement most brilliantly developed, and made still more interesting by an upward movement. The stylistically new factor we are looking for certainly does not lie in the merely material motive of the direction of movement, but, as it is a question of a principle of present- ment, in the way in which the theme is handled, how every recessional element
0.71PAINTING 75 tion. It is not a question of the degree of recession in the space represented, but in what way recession is made effective. Even where the seventeenth century apparently indulges in pure compositions in breadth, a closer com- parison must prove the fundamentally different point of departure. The spiral into-the-picture movement which Rubens loves will certainly be sought for in vain in Dutch pictures, yet this system of Rubens’ is only one type of re- cessional composition. There need even be no plastic oppositions of foreground and background:
0.70The course of the development of art, however, cannot simply be reduced to a series of separate points. Individuals fall into larger groups. Botticelli and Lorenzo di Credi, for all their differences, have still, as Florentines, a certain resemblance when compared with any Venetian, and Hobbema and Ruysdael, however divergent they may be, are immediately homogeneous as soon as to them, as Dutchmen, a Fleming like Rubens is opposed. That is to say: to the personal style must be added the style of the school, the country, the race. Let
0.69